Some movies are made for more professional critics than the general movie going public, but chances are you'll find the reverse more common than you think. In the case of the 1987 romantic comedy cult classic Mannequin, the film was critically reviled on its original release yet was a huge hit at the box office and even produced an Oscar nominated top selling song called Nothing's Gonna Stop Us Now. Released at a time when the magical girlfriend trend was blossoming in male gaze centered 80s fare, this film can be described as understandably dated yet harmless fun for what it was going for.
The film follows Jonathan Switcher, a passionate artist who lands a job as a department-store window dresser. When his own mannequin becomes inhabited by the spirit of a woman from Ancient Egypt, named Emmy, Jonathan's career and passion skyrockets much to the bewilderment of his peers and enemies. As mentioned previously, this type of formula was commonplace in the 1980s, partially thanks to the success of Splash. That being said, Mannequin is abundantly bizarre in its overly convoluted concept that might have been less hard to follow without Emmy's backstory in place, especially when it's hardly explained as to why only Jonathan can see her in her human form when no one else can. As a result, the film ends up being chock full with obvious cliches and predictable outcomes, including Jonathan's snobbish girlfriend Roxie Shield and the rival Illustra department store coming into play. It doesn't help that the tone is so free of cruel cynicism that any sort of suspense feels underplayed for the sake of emphasizing the humor and slapstick to the point of boredom.
However, as it is a romantic comedy set on a bizarre premise, Mannequin actually benefits as a debatable coming out story. Although this can be seen as interpretation rather than legitimate, Jonathan's willingness to accept his attraction towards the mannequin he created can be seen as a subtle commentary on embracing who you are despite what others say. Jonathan's artistic integrity is admirable in spite of conventionality keeping him from reaching his true potential, but the added bonus of a real woman spawning from his own creation feels like one's own fantasy come to life without any disturbing subtext intact at all. By Jonathan's side is his eccentric albeit emotionally boisterous coworker Hollywood Montrose, whose flamboyant personality compliments the stark contrast in the more conservative view of workplace accommodations then and now. Other supporting players range from the militaristic security guard Felix Maxwell and the casually stubborn store manager Mr. Richards as opposing foes, although the late Meshach Taylor nearly stole the show as Hollywood.
Now despite the film being laughably absurd in concept and predictably routine in execution, there can be enough to admire in Mannequin overall. As stated before, Jonathan's artistic sincerity almost paints him as a big dreamer who wants to be appreciated for his unique talents in a restraining reality that resents unconventional approaches to what he likes to do. Possibly due to Andrew McCarthy's charming performance, Jonathan's incapability of fitting in works wonders once he can finally embrace his own creation as something more than just a work of art, even in lieu of insipid slapstick and pratfalls. Although Emmy works better as a piece of beauty than a fully realized character, Kim Cattrall portrays her as a delightfully enthusiastic human being who wants to embrace the current era she is in alongside Jonathan. McCarthy and Cattrall share delightful enough chemistry beyond sex and art that one could relate to just being able to let loose and be themselves without being judged, regardless of how surreal the partner of someone established in our reality may appear to be.
As ridiculously constructed and manufactured Mannequin may be in story and comedy, it is a harmlessly charming take on a familiar fantasy sub genre thanks to its queer coded themes and willingness to embrace those with artistic integrity. Unless you're not a fan of the genre this is going for, this flick is watchable enough to at least recommend for the fun of it all. In a day and age where people are being more and more accepted for their distinct personalities and interests, Mannequin could be seen as unintentionally timeless beyond whatever the filmmakers had intended it to be in the first place.
The film follows Jonathan Switcher, a passionate artist who lands a job as a department-store window dresser. When his own mannequin becomes inhabited by the spirit of a woman from Ancient Egypt, named Emmy, Jonathan's career and passion skyrockets much to the bewilderment of his peers and enemies. As mentioned previously, this type of formula was commonplace in the 1980s, partially thanks to the success of Splash. That being said, Mannequin is abundantly bizarre in its overly convoluted concept that might have been less hard to follow without Emmy's backstory in place, especially when it's hardly explained as to why only Jonathan can see her in her human form when no one else can. As a result, the film ends up being chock full with obvious cliches and predictable outcomes, including Jonathan's snobbish girlfriend Roxie Shield and the rival Illustra department store coming into play. It doesn't help that the tone is so free of cruel cynicism that any sort of suspense feels underplayed for the sake of emphasizing the humor and slapstick to the point of boredom.
However, as it is a romantic comedy set on a bizarre premise, Mannequin actually benefits as a debatable coming out story. Although this can be seen as interpretation rather than legitimate, Jonathan's willingness to accept his attraction towards the mannequin he created can be seen as a subtle commentary on embracing who you are despite what others say. Jonathan's artistic integrity is admirable in spite of conventionality keeping him from reaching his true potential, but the added bonus of a real woman spawning from his own creation feels like one's own fantasy come to life without any disturbing subtext intact at all. By Jonathan's side is his eccentric albeit emotionally boisterous coworker Hollywood Montrose, whose flamboyant personality compliments the stark contrast in the more conservative view of workplace accommodations then and now. Other supporting players range from the militaristic security guard Felix Maxwell and the casually stubborn store manager Mr. Richards as opposing foes, although the late Meshach Taylor nearly stole the show as Hollywood.
Now despite the film being laughably absurd in concept and predictably routine in execution, there can be enough to admire in Mannequin overall. As stated before, Jonathan's artistic sincerity almost paints him as a big dreamer who wants to be appreciated for his unique talents in a restraining reality that resents unconventional approaches to what he likes to do. Possibly due to Andrew McCarthy's charming performance, Jonathan's incapability of fitting in works wonders once he can finally embrace his own creation as something more than just a work of art, even in lieu of insipid slapstick and pratfalls. Although Emmy works better as a piece of beauty than a fully realized character, Kim Cattrall portrays her as a delightfully enthusiastic human being who wants to embrace the current era she is in alongside Jonathan. McCarthy and Cattrall share delightful enough chemistry beyond sex and art that one could relate to just being able to let loose and be themselves without being judged, regardless of how surreal the partner of someone established in our reality may appear to be.
As ridiculously constructed and manufactured Mannequin may be in story and comedy, it is a harmlessly charming take on a familiar fantasy sub genre thanks to its queer coded themes and willingness to embrace those with artistic integrity. Unless you're not a fan of the genre this is going for, this flick is watchable enough to at least recommend for the fun of it all. In a day and age where people are being more and more accepted for their distinct personalities and interests, Mannequin could be seen as unintentionally timeless beyond whatever the filmmakers had intended it to be in the first place.